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Again, the large flat entablature between these paired columns, almost 20 feet in span, required the invention of an entirely new structural principle – the reinforcing of masonry with a complex framework of iron bars. In principle, it was an invention akin to that of reinforced concrete several centuries later. The question of who authored this committee design remains unanswered to this day. Claude Perrault, however, was more than happy to claim full credit, even if others involved with the project contested his claim.

13 The idea of creating a succession of visual sensations, which we shall return to momentarily, recalls Le Roy’s almost contemporary discussion of the colonnade. The other element of Burke’s study that should be singled out is his great skepticism toward the aesthetic truisms of humanist theory. Thus he goes to great lengths to dispel the notion that proportion has anything to do with beauty in the vegetable, animal, or human world. Speaking of Leonardo’s image of Vitruvian man with both irony and incredulity, he makes this point quite explicitly: But it appears very clearly to me, that the human figure never supplied the architect with any of his ideas.

Second, no two Renaissance architects and authors writing on this issue agreed as to what these numerical proportions should be for the orders. Thus, if columns should be based on absolute or harmonic values, there was as yet no known system for them. Perrault resolved the problem in a coolly scientific way. He took the different proportions found on all of the approved examples of column orders and calculated the arithmetic mean for each part. He justified this approach, moreover, with two arguments that would eventually prove devastating to humanist theory.